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| music for body and soul |______________________|| |
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|| release infos |
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| |
| + artist ........... cannonball adderley |
| + album ............ money in the pocket |
| + label ............ Blue Note |
| + cat .............. 77568 |
| + year ............. 2005 |
| + genre ............ jazz |
| + source ........... cdda |
| + quality .......... VBRkbps / 44,1Khz / joint-stereo |
| + release date ..... 07.10.2005 |
| + size ............. 94,3 MB |
| + link ............. www.bluenote.com/detail.asp?SelectionID=10458 |
.| |
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|| tracklist |
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| |
| 01.money in the pocket 10:26 |
| 02.stardust 09:10 |
| 03.introduction to a samba 07:23 |
| 04.hear me talkin' to ya 07:44 |
| 05.requiem for a jazz musician 10:32 |
| 06.cannon's theme (aka unit 7) 03:07 |
| 07.the sticks 04:06 |
| 08.fiddler on the roof 10:29 |
| |
| |
| (t!) total 62:57 min |
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|| release notes |
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| |
| Cannonball Adderley - saxophone |
| Nat Adderley - cornet |
| Josef Zawinul - piano |
| Herbie Lewis - bass |
| Roy Mc Curdy - drums |
| |
| |
| The Cannonball Adderley quintet with brother Nat, Joe Zawinul and |
| new members Herbie Lewis and Roy McCurdy recorded live at The Club |
| in Chicago in March 1966. An album was prepared and forgotten when |
| the band came up with "Mercy, Mercy, Mercy". The newly discovered |
| tapes of that album and additional material from the date make up |
| this great previously unissued 63-minute CD. Highlights include |
| the debut of Joe Zawinul's "Requiem For A Jazz Musician," a |
| revival of Adderley's slow blues "Hear Me Talkin' To Ya" from his |
| first record date in 1955, a masterful version of "Star Dust" and |
| an explosive version of "Fiddler On The Roof." |
| ----------------------------------------------------> bluenote.com |
| |
| |
| Cannonball Adderley's mega-successful album Mercy, Mercy, Mercy!, |
| released in August of 1966, was supposedly recorded "live" at a |
| venue in Chicago called The Club, but it was actually recorded in |
| the studio of Capitol Records with a specially assembled audience. |
| For those who wonder what they really sounded like at that venue, |
| Money in the Pocket contains unreleased live recordings of the |
| Cannonball Adderley Quintet at The Club in Chicago on March 19 and |
| 20, 1966. The only pieces officially released were edited 45-rpm |
| single versions of "The Sticks," "Money in the Pocket," "Hear Me |
| Talkin' to Ya," and "Cannon's Theme." This 2005 reissue restores |
| those tracks to their original full lengths while adding |
| "Introduction to a Samba," "Requiem for a Jazz Musician," "Fiddler |
| on the Roof," and a nice version of "Stardust." Cannonball |
| employed the same excellent band as heard on the Mercy, Mercy, |
| Mercy! album -- cornetist Nat Adderley, keyboardist Joe Zawinul, |
| drummer Roy McCurdy -- with the exception of bassist Herbie Lewis, |
| who replaced Victor Gaskin. Any Cannonball Adderley fan will want |
| to own this. |
| ---------------------------------------> Al Campbell @allmusic.com |
| |
| |
| When I was getting ready to issue Cannonball Adderley's Mercy, |
| Mercy, Mercy on CD in 1995, David Axelrod told me an interesting |
| tale. Although the cover boldly stated that the album was recorded |
| at "The Club" in Chicago, it had actually been recorded before an |
| invited audience in October 1966 at Capitol's large Studio A on |
| Vine Street in Hollywood, where the bar was open, the weather was |
| warm, and the parking was plentiful. E. Rodney Jones, an old |
| friend of Cannonball's, and fellow DJ Pervis Spann had bought the |
| historic and cavernous Club DeLisa in Chicago and reopened it as |
| The Club; Adderley's quintet was one of the first bookings. |
| When it came time to release this live-in-the-studio album |
| (Axelrod had already used the same setting for the highly |
| successful Lou Rawls Live! and would do so again for subsequent |
| Adderley albums), Cannonball asked David if he would put the club |
| down as the location and let E. Rodney Jones do a set of liner |
| notes about his club and the recording. What I didn't realize at |
| the time was that this wasn't pure fiction. On March 18-20, the |
| last three nights of Adderley's engagement at The Club, Capitol |
| actually did record him there. Tom Morgan was the producer. |
| Thirty-nine years later, he told me, "I don't remember much about |
| the gig or why the album didn't come out. I do remember being |
| thrilled to be in the Club DeLisa at last because as a kid in |
| Minnesota, I used to listen to Fletcher Henderson and other big |
| bands being broadcast live from there. I also remember that it was |
| snowing for most of the gig." |
| So what we have here is the lost session out of which grew the |
| fabrication that appeared on Cannonball Adderley's largest selling |
| album! Five tunes ù "Money in the Pocket" and "Stardust" as side |
| one, and "Hear Me Talkin' to Ya," "Requiem for a Jazz Musician," |
| and "Cannon's Theme" as side two ù were assembled into an album |
| master but never issued. |
| Instead, an album entitled Great Love Themes, which Morgan |
| produced in New York with Adderley two weeks later with string |
| arrangements by Ray Ellis, was released. As for the material from |
| The Club, edited versions of "Money in the Pocket," "Hear Me |
| Talkin' to Ya," and "The Sticks," along with "Cannon's Theme" were |
| issued on two 45 rpm singles. And that was it! |
| Then, on October 20, Cannonball's quintet went into Capitol's |
| studio to cut Mercy, Mercy, Mercy and everything changed. The |
| Chicago tapes were forgotten. "Money in the Pocket" as well as an |
| early version of "Mercy, Mercy, Mercy" showed up on Cannonball in |
| Japan, taped in August, but that record wasn't released |
| internationally until the CD era. Interestingly enough, Adderley |
| never rerecorded any of the other tunes left behind on that |
| planned but forgotten album. |
| He did, however, revisit "The Sticks," which was not a part of the |
| intended album, but edited and issued as a single. And this tune |
| might be a clue as to why this material was passed over. Adderley |
| announces this tune, his new original, as untitled until the final |
| night of the gig when he dubs it "The Sticks." His explanation |
| solved a mystery for me. When I first listened to rough mixes of |
| these tapes, the audience's applause sounds absolutely tinny and |
| bizarre; then I began to suspect that the audience had been given |
| access to some kind of small drumstick and that many were beating |
| along with the music and using them to applaud. Cannonball's |
| introduction confirms the theory; the odd sound of the sticks may |
| have been a factor in the LP not being issued at the time. |
| When I came upon the unissued album, I hunted down all the |
| surviving reels of outtakes to find the issued take of "The |
| Sticks" and more material to fill out a CD. The set lists were an |
| interesting mix of new material for the album including "The |
| Sticks" and "Hippodelphia" (which were redone on Mercy, Mercy, |
| Mercy), tunes to promote the previous album Domination with the |
| Oliver Nelson orchestra ("Introduction to a Samba" and "Shake a |
| Lady"), and songs that would appear on the strings album he |
| recorded a few weeks later ("The End of a Love Affair," |
| "Somewhere," and "Manha de Carnaval"). I've added three selections |
| to the original album that Adderley and Tom Morgan had planned. |
| This is the only recording of the quintet to include Herbie Lewis, |
| who was in the band only from February to April of 1966. His |
| playing is exceptional throughout and his big sound is nicely |
| captured by the recording engineers in what must have been a less |
| than ideal situation. Lewis went on to another brief stint with |
| the Jazz Crusaders and his only recording with them can be heard |
| on Festival Album (Pacific Jazz CD 60434). |
| Joe Zawinul's "Money in the Pocket" was very much in the style of |
| the tunes that Blue Note was having so much success with ù a |
| terse, sly, bluesy melody line, a repeated funky bass line, and a |
| solid backbeat. This was the sort of tune that had to have a |
| groove that was in the pocket and was almost guaranteed to put |
| money in your pocket. It's odd that Adderley targeted this tune to |
| lead off the album since Zawinul had recorded it six weeks earlier |
| for his first Atlantic album. Cannonball has never really gotten |
| the recognition he deserves as a ballad player; it's nice to have |
| this beautiful version of "Stardust" available. Cannonball and Nat |
| stretch out on this version of "Introduction to a Samba," which |
| includes a brief solo from Roy McCurdy. "Hear Me Talkin' to Ya," |
| which has a great slow-blues groove, comes from the first |
| recording session on which Cannonball and Nat appeared, a 1955 |
| Kenny Clarke date for Savoy. |
| It's a thrill to find an unreleased piece by a composer of Joe |
| Zawinul's stature, which makes "Requiem for a Jazz Musician" the |
| real discovery of this session. Joe explained recently, "The title |
| was inspired by Rod Serling's Requiem for a Heavyweight. I wrote |
| it as an ode to many of my jazz musician friends who died of |
| drug-related causes." It's an ambitious and sensitive piece to |
| attempt in a club environment, but these men pull it off |
| beautifully. |
| After the always concise and explosive "The Sticks," this lost |
| session concludes with "Fiddler on the Roof," which is included |
| for the benefit of those who have never heard the band tear into |
| this song live. It is a ferocious performance and Cannonball is |
| screaming! A nice addition to Cannon's canon. |
| -----------------------> Michael Cuscuna @ cannonball-adderley.com |
| |
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|| group notes |
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